{"id":11959,"date":"2023-06-30T13:57:20","date_gmt":"2023-06-30T10:57:20","guid":{"rendered":"https:\/\/ks.iul-nasu.org.ua\/?page_id=11959"},"modified":"2023-09-12T11:05:48","modified_gmt":"2023-09-12T08:05:48","slug":"folklorni-dzherela-pisennyh-tekstiv-u-chasy-rosijsko-ukrayinskoyi-vijny","status":"publish","type":"page","link":"https:\/\/ks.iul-nasu.org.ua\/en\/vypusky-zhurnalu\/2023-2\/zbirnyk-kultura-slova-98-2023\/folklorni-dzherela-pisennyh-tekstiv-u-chasy-rosijsko-ukrayinskoyi-vijny.html","title":{"rendered":"FOLKLORE SOURCES OF THE TEXTS OF THE SONGS AT THE TIME OF THE RUSSIAN-UKRAINIAN WAR"},"content":{"rendered":"Nina DANYLYUK,<\/strong>
\nDoctor of Philological Sciences, Professor, Department of the Ukrainian language,
\nLesya Ukrainka Volyn National University;
\n13, Voli prospect, Lutsk, Volyn region, 43025, Ukraine;
\n\u0435-mail: danyluk@vnu.edu.ua
\nORCID: https:\/\/orcid.org\/0000-0002-7373-2902<\/p>\n

Heading:<\/strong> THE WORD IN A WORK OF ART
\nLanguage:<\/strong> Ukrainian<\/p>\n

Abstract<\/strong>
\nIn the article, based on the material of the texts of modern Ukrainian songs, the main means of activating folklore sources are considered: 1) performance of folk songs in a new musical design, accompanied by video clips (e.g. some texts of such bands as \u201cVV\u201d(\u201c\u0412\u0412\u201d), \u201cVIP\u201d, \u201cBoombox\u201d (\u201c\u0411\u0443\u043c\u0431\u043e\u043a\u0441\u201d), \u201cMade in Ukraine\u201d and others); 2) filling traditional texts with relevant content (\u201c\u041f\u043b\u0438\u0432\u0435 \u043a\u0430\u0447\u0430 \u043f\u043e \u0422\u0438\u0441\u0438\u043d\u0456\u2026\u201d (\u201cA duck swims along the Tisin…\u201d), \u201c\u041e\u0439 \u0443 \u043b\u0443\u0437\u0456 \u0447\u0435\u0440\u0432\u043e\u043d\u0430 \u043a\u0430\u043b\u0438\u043d\u0430\u2026\u201d (\u201cOh, a red viburnum is in the meadow…\u201d), \u201c\u0413\u0435\u0439, \u0441\u043e\u043a\u043e\u043b\u0438!\u201d (\u201cHey, falcons!\u201d, rebel songs from the album \u201cOur Partisans\u201d, performed by Taras Chubai and the bands \u201cPlach Jeremiah\u201d and \u201cSkryabin\u201d, etc.); 3) current adaptations of well-known folk songs (\u201c\u0413\u043e\u0440\u0456\u043b\u0430 \u0448\u0438\u043d\u0430, \u043f\u0430\u043b\u0430\u043b\u0430\u2026\u201d (\u201cThe tire was burning, it was burning…\u201d) during Euromaidan, \u201c\u041b\u0435\u0442\u0456\u043b\u0430 \u0437\u043e\u0437\u0443\u043b\u044f\u2026\u201d (\u201cThe cuckoo was flying…\u201d), performed by singers Alyona Alyona and Jeri Hale, \u00ab\u041d\u0456\u0447 \u044f\u043a\u0430 \u043c\u0456\u0441\u044f\u0447\u043d\u0430\u2026\u00bb (\u201cWhat a moonlit night…\u201d), \u00ab\u0407\u0445\u0430\u043b\u0438 \u0443\u043a\u0440\u043e\u043f\u0438\u2026\u00bb (\u201cUkrops were riding…\u201d etc.); 4) actualization of the texts of certain folklore genres (\u00ab\u041a\u043e\u043b\u0438\u0441\u043a\u043e\u0432\u0430 \u0434\u043b\u044f \u043a\u043e\u0445\u0430\u043d\u043e\u0457\u00bb (\u201cLullaby for a Beloved\u201d), \u00ab\u041a\u043e\u043b\u0438\u0441\u043a\u043e\u0432\u0430 \u0434\u043b\u044f \u0432\u043e\u0440\u043e\u0433\u0430\u00bb (\u201cLullaby for an Enemy\u201d), \u201c\u0411\u0430\u043d\u0434\u0435\u0440\u0448\u0442\u0430\u0442\u0456\u0432\u0441\u044c\u043a\u0456 \u043a\u043e\u043b\u043e\u043c\u0438\u0439\u043a\u0438\u201d (\u201cBanderstatt Kolomyiki\u201d) performed by the band \u201cSkryabin\u201d, \u201c\u041a\u043e\u043b\u043e\u043c\u0438\u0439\u043a\u0438 \u043f\u0440\u043e \u043c\u043e\u0441\u043a\u0430\u043b\u0456\u0432\u201d (\u201cKolomyiki about Muscovites\u201d), \u201c\u041f\u043e\u0432\u0441\u0442\u0430\u043d\u0441\u044c\u043a\u0430 \u043a\u043e\u043b\u044f\u0434\u043a\u0430\u201d (\u201cRebel Carol\u201d), etc.); 5) transformation of a different folk genre form into a song (\u201c\u0411\u0443\u0434\u0435 \u0442\u043e\u0431\u0456, \u0432\u0440\u0430\u0436\u0435, \u0442\u0430\u043a, \u044f\u043a \u0432\u0456\u0434\u044c\u043c\u0430 \u0441\u043a\u0430\u0436\u0435\u201d (\u201cFor you, the enemy, things will be like the witch will say\u201d) with elements of bewitching orders, performed by Ainge Kreyda); 6) creation of new song texts, using folklore units (e.g: \u201c\u041e\u0439 \u0443 \u043b\u0443\u0437\u0456 \u043f\u0456\u0434 \u0414\u043e\u043d\u0431\u0430\u0441\u043e\u043c\u2026\u201d (\u201cOh, there in the meadow near Donbas…\u201d), \u201c\u0413\u0435\u0439, \u0441\u0438\u0432\u0438\u0439 \u0432\u0456\u0442\u0435\u0440 \u043f\u043b\u0430\u0447\u0435\u2026\u201d (\u201cHey, the gray wind is crying…\u201d), \u201c\u0422\u0430\u043c, \u0434\u0435 \u0454 \u043c\u043e\u0440\u0435 \u0456 \u0433\u043e\u0440\u0438\u2026\u201d (\u201cThere, where there is sea and mountains…\u201d) etc.).
\nIn modern songs, authors use such typical means as semantic-syntactic parallelism, constant epithets, metaphors, key words, anaphora, which contributes to the maximum stylization of the folk poetic text.
\nA conclusion was made about the activation of folklore sources, in particular, the appeal to Cossack, recruit, rifle and rebel songs, the use of set folk poetic expressive means, language images of \u0423\u043a\u0440\u0430\u0457\u043d\u0430, \u0440\u0456\u0434\u043d\u0430 \u0437\u0435\u043c\u043b\u044f, \u043a\u043e\u0437\u0430\u043a, \u0445\u043b\u043e\u043f\u0435\u0446\u044c, \u043c\u0430\u0442\u0438 (Ukraine, native land, Cossack, boy, mother, etc.) in the author\u2019s texts, which reflect the linguistic thinking of Ukrainians, their struggle for freedom and independence during the Russian military aggression.
\nKey words:<\/strong> song text, original work, re-singing, folklore device, language image.<\/p>\n

REFERENCES<\/strong>
\nA lullaby over the son\u2019s coffin. Hero Artem Dymyd\u2019s mother about the boy\u2019s life and death. Credo Testimony.<\/em> August 12, 2022. URL: https:\/\/credo.pro\/2022\/08\/327096 (in Ukr.).
\nBilodid, I.K. (Ed.). (1975). Dictionary of the Ukrainian language: In 11 vol. Vol. 6. A.V. Lahutina, K.V. Lenets, eds. Kyiv: Naukova dumka. URL: http:\/\/ukrlit.org\/slovnyk\/slovnyk_ukrainskoi_movy_v_11_tomakh
\nKlieshchova, O.Ye (2013). Linguistic features of the songs of the Ukrainian band \u201cOcean Elsy\u201d. Linguistics, 3,<\/em> 122\u2013129. URL: http:\/\/nbuv.gov.ua\/UJRN\/ling_2013_3_17 (in Ukr.).
\nKyryliuk, O. (2020). The language of network folklore as a means of resistance to informational aggression. Language: classical \u2013 modern \u2013 postmodern, 6,<\/em> 32\u201349. URL: http:\/\/ekmair.ukma.edu.ua\/bitstream\/handle\/123456789\/19307\/Kyryliuk_ Mova_merezhevoho_folkloru_yak_zasib_oporu_informatsiinii_ahresii.pdf?sequence=1&isAllowed=y (in Ukr.).
\nNepokupnyi, A.P., Stryzhak, O.S., Tsiluiko, K.K. (Eds.). (1979). Dictionary of hydronyms of Ukraine. Kyiv: Naukova dumka. URL: http:\/\/history.org.ua\/LiberUA\/SlGidrUkr_1979\/SlGidrUkr_1979.pdf
\nVlasova, A.Yu. (2016). Cultural aspect of modern Ukrainian song and its language. Bulletin of the National Academy of Managers of Culture and Arts, 1,<\/em> 33\u201336. URL: http:\/\/nbuv.gov.ua\/UJRN\/vdakkkm_2016_1_10 (in Ukr.).
\nYaruchyk, Yu. (2012). Broadcasting culture of Ukrainian music groups: based on the song texts of \u201cElza\u2019s Ocean\u201d, \u201cSkryabin\u201d, \u201cBoombox\u201d. Dyvoslovo: Ukrainian language and literature<\/em> in educational institutions, 8,<\/em> 36\u201339. URL: https:\/\/dyvoslovo.com.ua\/wp-content\/uploads\/2016\/03\/9-812.pdf (in Ukr.).
\nYermolenko, S.Ya. (1999). Essays on Ukrainian literature: Stylistics and language culture. Kyiv: Dovira (in Ukr.).<\/p>\n

LEGEND<\/strong>
\n\u041d\u041f \u2013 Our partisans. Project. Taras Chubai and Skriabin. URL: https:\/\/www.youtube.com\/watch?v=TioT1-bx1GI&ab_channel=
\n\u041f\u0412 \u2013 Songs of war. URL: https:\/\/www.youtube.com\/watch?v=r6-AlrMlsPY&ab_channel=GoldenMusicUA
\n\u0423\u041d\u041f \u2013 Ukrainian folk songs in a modern arrangement. URL: https:\/\/www.youtube.com\/watch?v=EmmQDWi4rsY&ab_channel=
\n\u0423\u041f \u2013 Ukrainian songs. 2003\u20132022. URL: https:\/\/www.pisni.org.ua\/songs","protected":false},"excerpt":{"rendered":"

Nina DANYLYUK, Doctor of Philological Sciences, Professor, Department of the Ukrainian language, Lesya Ukrainka Volyn National University; 13, Voli prospect, Lutsk, Volyn region, 43025, Ukraine; \u0435-mail: danyluk@vnu.edu.ua ORCID: https:\/\/orcid.org\/0000-0002-7373-2902 Heading: THE WORD IN A WORK OF ART Language: Ukrainian Abstract In the article, based on the material of the texts of modern Ukrainian songs, the […]<\/p>\n","protected":false},"author":4,"featured_media":0,"parent":11940,"menu_order":4,"comment_status":"closed","ping_status":"closed","template":"page-doi.php","meta":{"footnotes":""},"class_list":["post-11959","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/ks.iul-nasu.org.ua\/en\/wp-json\/wp\/v2\/pages\/11959","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ks.iul-nasu.org.ua\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/ks.iul-nasu.org.ua\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/ks.iul-nasu.org.ua\/en\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/ks.iul-nasu.org.ua\/en\/wp-json\/wp\/v2\/comments?post=11959"}],"version-history":[{"count":4,"href":"https:\/\/ks.iul-nasu.org.ua\/en\/wp-json\/wp\/v2\/pages\/11959\/revisions"}],"predecessor-version":[{"id":12035,"href":"https:\/\/ks.iul-nasu.org.ua\/en\/wp-json\/wp\/v2\/pages\/11959\/revisions\/12035"}],"up":[{"embeddable":true,"href":"https:\/\/ks.iul-nasu.org.ua\/en\/wp-json\/wp\/v2\/pages\/11940"}],"wp:attachment":[{"href":"https:\/\/ks.iul-nasu.org.ua\/en\/wp-json\/wp\/v2\/media?parent=11959"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}